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AI Avatar Kids — independent reviews, comparisons, pricing and step-by-step guides on Aizhi.

  • C3D Toolkit

    C3D Toolkit

    C3D Toolkit is a proprietary cross-platform geometric modeling kit software developed by Russian C3D Labs (previously part of ASCON Group). It's written in C++ . It can be licensed by other companies for use in their 3D computer graphics software products. The most widely known software in which C3D Toolkit is typically used are computer aided design (CAD), computer-aided manufacturing (CAM), and computer-aided engineering (CAE) systems. C3D Toolkit provides routines for 3D modeling, 3D constraint solving, polygonal mesh-to-B-rep conversion, 3D visualization, and 3D file conversions etc. == History == Nikolai Golovanov is a graduate of the Mechanical Engineering department of Bauman Moscow State Technical University as a designer of space launch vehicles. Upon his graduation, he began with the Kolomna Engineering Design bureau, which at the time employed the future founders of ASCON, Alexander Golikov and Tatiana Yankina. While at the bureau, Dr Golovanov developed software for analyzing the strength and stability of shell structures. In 1989, Alexander Golikov and Tatiana Yankina left Kolomna to start up ASCON as a private company. Although they began with just an electronic drawing board, even then they were already conceiving the idea of three-dimensional parametric modeling. This radical concept eventually changed flat drawings into three-dimensional models. The ASCON founders shared their ideas with Nikolai Golovanov, and in 1996 he moved to take up his current position with ASCON. As of 2012 he was involved in developing algorithms for C3D Toolkit. In 2012 the earliest version of the C3D Modeller kernel was extracted from KOMPAS-3D CAD. It was later adopted to a range of different platforms and advertised as a separate product. == Overview == It incorporates five modules: C3D Modeler constructs geometric models, generates flat projections of models, performs triangulations, calculates the inertial characteristics of models, and determines whether collisions occur between the elements of models; C3D Modeler for ODA enables advanced 3D modeling operations through the ODA's standard "OdDb3DSolid" API from the Open Design Alliance; C3D Solver makes connections between the elements of geometric models, and considers the geometric constraints of models being edited; C3D B-Shaper converts polygonal models to boundary representation (B-rep) bodies; C3D Vision controls the quality of rendering for 3D models using mathematical apparatus and software, and the workstation hardware; C3D Converter reads and writes geometric models in a variety of standard exchange formats. == Features == == Development == == Applications == Since 2013 - the date the company started issuing a license for the toolkit -, several companies have adopted C3D software components for their products, users include: Recently, C3D Modeler has been adapted to ODA Platform. In April 2017, C3D Viewer was launched for end users. The application allows to read 3D models in common formats and write it to the C3D file format. Free version is available.

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  • Resel

    Resel

    In image analysis, a resel (from resolution element) represents the actual spatial resolution in an image or a volumetric dataset. The number of resels in the image may be lower or equal to the number of pixel/voxels in the image. In an actual image the resels can vary across the image and indeed the local resolution can be expressed as "resels per pixel" (or "resels per voxel"). In functional neuroimaging analysis, an estimate of the number of resels together with random field theory is used in statistical inference. Keith Worsley has proposed an estimate for the number of resels/roughness. The word "resel" is related to the words "pixel", "texel", and "voxel". Waldo R. Tobler is probably among the first to use the word.

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  • NER model

    NER model

    NER is one of several formulas for accessing live subtitles in television broadcasts and events that are produced using speech recognition. The three letters stand for number, edit error and recognition error. It has been promoted as an alternative to Word error rate (Word Error Rate) which is a more objective measure. The overall score is calculated as follows: Firstly, the number of edit and recognition errors is deducted from the total number of words in the live subtitles. This number is then divided by the total number of words in the live subtitles and finally multiplied by one hundred. N E R v a l u e = N − E − R N ∗ 100 {\displaystyle NERvalue={\frac {N-E-R}{N}}100} . The acronyms stand for the following: N (number) = total number of words in the live subtitles E (Edit error) = edit error R (Recognition error) = recognition error This measurement process has been used for public television broadcasts in European countries like Italy and Switzerland. One major drawback with NER is that it requires a human assessor to rate errors as either: 1 Minor edition or recognition errors 2 Normal edition or recognition errors 3 Serious errors which are then weighted in the assessment process. This is both subjective, time consuming and costly. Also, NER fails to account for words left out subtitles which is something that does not take account of the D/deaf audience who want verbatim subtitles. As a result, NER cannot accurately reflect the audience's experience of subtitles. Another problem is the inconsistency of human evaluation of subtitles, particularly with live subtitles, where there are differing opinions of the importance of subtitle errors. By way of contrast, Word error rate is an objective measure of subtitle errors, since it measures the textual discrepancy between the subtitles and the speech.

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  • Oversampled binary image sensor

    Oversampled binary image sensor

    An oversampled binary image sensor is an image sensor with non-linear response capabilities reminiscent of traditional photographic film. Each pixel in the sensor has a binary response, giving only a one-bit quantized measurement of the local light intensity. The response function of the image sensor is non-linear and similar to a logarithmic function, which makes the sensor suitable for high dynamic range imaging. == Working principle == Before the advent of digital image sensors, photography, for the most part of its history, used film to record light information. At the heart of every photographic film are a large number of light-sensitive grains of silver-halide crystals. During exposure, each micron-sized grain has a binary fate: Either it is struck by some incident photons and becomes "exposed", or it is missed by the photon bombardment and remains "unexposed". In the subsequent film development process, exposed grains, due to their altered chemical properties, are converted to silver metal, contributing to opaque spots on the film; unexposed grains are washed away in a chemical bath, leaving behind the transparent regions on the film. Thus, in essence, photographic film is a binary imaging medium, using local densities of opaque silver grains to encode the original light intensity information. Thanks to the small size and large number of these grains, one hardly notices this quantized nature of film when viewing it at a distance, observing only a continuous gray tone. The oversampled binary image sensor is reminiscent of photographic film. Each pixel in the sensor has a binary response, giving only a one-bit quantized measurement of the local light intensity. At the start of the exposure period, all pixels are set to 0. A pixel is then set to 1 if the number of photons reaching it during the exposure is at least equal to a given threshold q. One way to build such binary sensors is to modify standard memory chip technology, where each memory bit cell is designed to be sensitive to visible light. With current CMOS technology, the level of integration of such systems can exceed 109~1010 (i.e., 1 giga to 10 giga) pixels per chip. In this case, the corresponding pixel sizes (around 50~nm ) are far below the diffraction limit of light, and thus the image sensor is oversampling the optical resolution of the light field. Intuitively, one can exploit this spatial redundancy to compensate for the information loss due to one-bit quantizations, as is classic in oversampling delta-sigma converters. Building a binary sensor that emulates the photographic film process was first envisioned by Fossum, who coined the name digital film sensor (now referred to as a quanta image sensor). The original motivation was mainly out of technical necessity. The miniaturization of camera systems calls for the continuous shrinking of pixel sizes. At a certain point, however, the limited full-well capacity (i.e., the maximum photon-electrons a pixel can hold) of small pixels becomes a bottleneck, yielding very low signal-to-noise ratios (SNRs) and poor dynamic ranges. In contrast, a binary sensor whose pixels need to detect only a few photon-electrons around a small threshold q has much less requirement for full-well capacities, allowing pixel sizes to shrink further. == Imaging model == === Lens === Consider a simplified camera model shown in Fig.1. The λ 0 ( x ) {\displaystyle \lambda _{0}(x)} is the incoming light intensity field. By assuming that light intensities remain constant within a short exposure period, the field can be modeled as only a function of the spatial variable x {\displaystyle x} . After passing through the optical system, the original light field λ 0 ( x ) {\displaystyle \lambda _{0}(x)} gets filtered by the lens, which acts like a linear system with a given impulse response. Due to imperfections (e.g., aberrations) in the lens, the impulse response, a.k.a. the point spread function (PSF) of the optical system, cannot be a Dirac delta, thus, imposing a limit on the resolution of the observable light field. However, a more fundamental physical limit is due to light diffraction. As a result, even if the lens is ideal, the PSF is still unavoidably a small blurry spot. In optics, such diffraction-limited spot is often called the Airy disk, whose radius R a {\displaystyle R_{a}} can be computed as R a = 1.22 w f , {\displaystyle R_{a}=1.22\,wf,} where w {\displaystyle w} is the wavelength of the light and f {\displaystyle f} is the F-number of the optical system. Due to the lowpass (smoothing) nature of the PSF, the resulting λ ( x ) {\displaystyle \lambda (x)} has a finite spatial-resolution, i.e., it has a finite number of degrees of freedom per unit space. === Sensor === Fig.2 illustrates the binary sensor model. The s m {\displaystyle s_{m}} denote the exposure values accumulated by the sensor pixels. Depending on the local values of s m {\displaystyle s_{m}} , each pixel (depicted as "buckets" in the figure) collects a different number of photons hitting on its surface. y m {\displaystyle y_{m}} is the number of photons impinging on the surface of the m {\displaystyle m} th pixel during an exposure period. The relation between s m {\displaystyle s_{m}} and the photon count y m {\displaystyle y_{m}} is stochastic. More specifically, y m {\displaystyle y_{m}} can be modeled as realizations of a Poisson random variable, whose intensity parameter is equal to s m {\displaystyle s_{m}} , As a photosensitive device, each pixel in the image sensor converts photons to electrical signals, whose amplitude is proportional to the number of photons impinging on that pixel. In a conventional sensor design, the analog electrical signals are then quantized by an A/D converter into 8 to 14 bits (usually the more bits the better). But in the binary sensor, the quantizer is 1 bit. In Fig.2, b m {\displaystyle b_{m}} is the quantized output of the m {\displaystyle m} th pixel. Since the photon counts y m {\displaystyle y_{m}} are drawn from random variables, so are the binary sensor output b m {\displaystyle b_{m}} . === Spatial and temporal oversampling === If it is allowed to have temporal oversampling, i.e., taking multiple consecutive and independent frames without changing the total exposure time τ {\displaystyle \tau } , the performance of the binary sensor is equivalent to the sensor with same number of spatial oversampling under certain condition. It means that people can make trade off between spatial oversampling and temporal oversampling. This is quite important, since technology usually gives limitation on the size of the pixels and the exposure time. == Advantages over traditional sensors == Due to the limited full-well capacity of conventional image pixel, the pixel will saturate when the light intensity is too strong. This is the reason that the dynamic range of the pixel is low. For the oversampled binary image sensor, the dynamic range is not defined for a single pixel, but a group of pixels, which makes the dynamic range high. == Reconstruction == One of the most important challenges with the use of an oversampled binary image sensor is the reconstruction of the light intensity λ ( x ) {\displaystyle \lambda (x)} from the binary measurement b m {\displaystyle b_{m}} . Maximum likelihood estimation can be used for solving this problem. Fig. 4 shows the results of reconstructing the light intensity from 4096 binary images taken by single photon avalanche diodes (SPADs) camera. A better reconstruction quality with fewer temporal measurements and faster, hardware friendly implementation, can be achieved by more sophisticated algorithms.

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  • Oculus Medium

    Oculus Medium

    Oculus Medium is a digital sculpting software that works with virtual reality headsets and 6DoF motion controllers. It is used to create and paint digital sculptures. Medium works only on Oculus Rift. It was released on December 5, 2016, following with a major update in 2018 introducing new features and a revamped UI. On December 9, 2019, Oculus Medium was acquired by Adobe and re-named to "Medium by Adobe".

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  • CinePlayer

    CinePlayer

    CinePlayer is a software based media player used to review Digital Cinema Packages (DCP) without the need for a digital cinema server by Doremi Labs. CinePlayer can play back any DCP, not just those created by Doremi Mastering products. In addition to playing DCPs, CinePlayer can also playback JPEG2000 image sequences and many popular multimedia file types. There are two versions of CinePlayer available, standard and Pro. The standard version supports playback of non-encrypted, 2D DCP's up to 2K resolution. The Pro version supports playback of encrypted, 2D or 3D DCP's with subtitles up to 4K resolution. == Supported formats == === Containers === AVI MOV MXF MPG TS WMV M2TS MTS MP4 MKV === Video codecs === JPEG2000 ProRes 422 DNxHD YUV Uncompressed 8-10 bits DIVX XVID MPEG4 AVC / H-264 VC-1 MPEG2 === Supported image sequences === BMP TIFF TGA DPX JPG J2C === Supported audio files === WAV MP3 WMA MP2

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  • Ordered dithering

    Ordered dithering

    Ordered dithering is any image dithering algorithm which uses a pre-set threshold map tiled across an image. It is commonly used to display a continuous image on a display of smaller color depth. For example, Microsoft Windows uses it in 16-color graphics modes. With the most common "Bayer" threshold map, the algorithm is characterized by noticeable crosshatch patterns in the result. == Threshold map == The algorithm reduces the number of colors by applying a threshold map M to the pixels displayed, causing some pixels to change color, depending on the distance of the original color from the available color entries in the reduced palette. The first threshold maps were designed by hand to minimise the perceptual difference between a grayscale image and its two-bit quantisation for up to a 4x4 matrix. An optimal threshold matrix is one that for any possible quantisation of color has the minimum possible texture so that the greatest impression of the underlying feature comes from the image being quantised. It can be proven that for matrices whose side length is a power of two there is an optimal threshold matrix. The map may be rotated or mirrored without affecting the effectiveness of the algorithm. This threshold map (for sides with length as power of two) is also known as a Bayer matrix or, when unscaled, an index matrix. For threshold maps whose dimensions are a power of two, the map can be generated recursively via: M 2 n = 1 ( 2 n ) 2 [ 4 M n 4 M n + 2 J n 4 M n + 3 J n 4 M n + J n ] = J 2 ⊗ M n + 1 n 2 M 2 ⊗ J n , {\displaystyle \mathbf {M} _{2n}={\frac {1}{(2n)^{2}}}{\begin{bmatrix}4\mathbf {M} _{n}&4\mathbf {M} _{n}+2\mathbf {J} _{n}\\4\mathbf {M} _{n}+3\mathbf {J} _{n}&4\mathbf {M} _{n}+\mathbf {J} _{n}\end{bmatrix}}=\mathbf {J} _{2}\otimes \mathbf {M} _{n}+{\frac {1}{n^{2}}}\mathbf {M} _{2}\otimes \mathbf {J} _{n},} where J n {\displaystyle \mathbf {J} _{n}} are n × n {\displaystyle n\times n} matrices of ones and ⊗ {\displaystyle \otimes } is the Kronecker product. While the metric for texture that Bayer proposed could be used to find optimal matrices for sizes that are not a power of two, such matrices are uncommon as no simple formula for finding them exists, and relatively small matrix sizes frequently give excellent practical results (especially when combined with other modifications to the dithering algorithm). This function can also be expressed using only bit arithmetic: M(i, j) = bit_reverse(bit_interleave(bitwise_xor(i, j), i)) / n ^ 2 == Pre-calculated threshold maps == Rather than storing the threshold map as a matrix of n {\displaystyle n} × n {\displaystyle n} integers from 0 to n 2 {\displaystyle n^{2}} , depending on the exact hardware used to perform the dithering, it may be beneficial to pre-calculate the thresholds of the map into a floating point format, rather than the traditional integer matrix format shown above. For this, the following formula can be used: Mpre(i,j) = Mint(i,j) / n^2 This generates a standard threshold matrix. for the 2×2 map: this creates the pre-calculated map: Additionally, normalizing the values to average out their sum to 0 (as done in the dithering algorithm shown below) can be done during pre-processing as well by subtracting 1⁄2 of the largest value from every value: Mpre(i,j) = Mint(i,j) / n^2 – 0.5 maxValue creating the pre-calculated map: == Algorithm == The ordered dithering algorithm renders the image normally, but for each pixel, it offsets its color value with a corresponding value from the threshold map according to its location, causing the pixel's value to be quantized to a different color if it exceeds the threshold. For most dithering purposes, it is sufficient to simply add the threshold value to every pixel (without performing normalization by subtracting 1⁄2), or equivalently, to compare the pixel's value to the threshold: if the brightness value of a pixel is less than the number in the corresponding cell of the matrix, plot that pixel black, otherwise, plot it white. This lack of normalization slightly increases the average brightness of the image, and causes almost-white pixels to not be dithered. This is not a problem when using a gray scale palette (or any palette where the relative color distances are (nearly) constant), and it is often even desired, since the human eye perceives differences in darker colors more accurately than lighter ones, however, it produces incorrect results especially when using a small or arbitrary palette, so proper normalization should be preferred. In other words, the algorithm performs the following transformation on each color c of every pixel: c ′ = n e a r e s t _ p a l e t t e _ c o l o r ( c + r × ( M ( x mod n , y mod n ) − 1 / 2 ) ) {\displaystyle c'=\mathrm {nearest\_palette\_color} {\mathopen {}}\left(c+r\times \left(M(x{\bmod {n}},y{\bmod {n}})-1/2\right){\mathclose {}}\right)} where M(i, j) is the threshold map on the i-th row and j-th column, c′ is the transformed color, and r is the amount of spread in color space. Assuming an RGB palette with 23N evenly distanced colors where each color (a triple of red, green and blue values) is represented by an octet from 0 to 255, one would typically choose r ≈ 255 N {\textstyle r\approx {\frac {255}{N}}} . (1⁄2 is again the normalizing term.) Because the algorithm operates on single pixels and has no conditional statements, it is very fast and suitable for real-time transformations. Additionally, because the location of the dithering patterns always stays the same relative to the display frame, it is less prone to jitter than error-diffusion methods, making it suitable for animations. Because the patterns are more repetitive than error-diffusion method, an image with ordered dithering compresses better. Ordered dithering is more suitable for line-art graphics as it will result in straighter lines and fewer anomalies. The values read from the threshold map should preferably scale into the same range as the minimal difference between distinct colors in the target palette. Equivalently, the size of the map selected should be equal to or larger than the ratio of source colors to target colors. For example, when quantizing a 24 bpp image to 15 bpp (256 colors per channel to 32 colors per channel), the smallest map one would choose would be 4×2, for the ratio of 8 (256:32). This allows expressing each distinct tone of the input with different dithering patterns. === A variable palette: pattern dithering === == Non-Bayer approaches == The above thresholding matrix approach describes the Bayer family of ordered dithering algorithms. A number of other algorithms are also known; they generally involve changes in the threshold matrix, which changes the distribution of the "noise" introduced by all kinds of dithering (the difference between the original image and the dithered image). === Halftone === Halftone dithering performs a form of clustered dithering, creating a look similar to halftone patterns, using a specially crafted matrix. === Void and cluster === The Void and cluster algorithm uses a pre-generated blue noise as the matrix for the dithering process. The blue noise matrix keeps the Bayer's good high frequency content, but with a more uniform coverage of all the frequencies involved shows a much lower amount of patterning. The "voids-and-cluster" method gets its name from the matrix generation procedure, where a black image with randomly initialized white pixels is gaussian-blurred to find the brightest and darkest parts, corresponding to voids and clusters. After a few swaps have evenly distributed the bright and dark parts, the pixels are numbered by importance. It takes significant computational resources to generate the blue noise matrix: on a modern computer a 64×64 matrix requires a couple seconds using the original algorithm. This algorithm can be extended to make animated dither masks which also consider the axis of time. This is done by running the algorithm in three dimensions and using a kernel which is a product of a two-dimensional gaussian kernel on the XY plane, and a one-dimensional Gaussian kernel on the Z axis. === Simulated Annealing === Simulated annealing can generate dither masks by starting with a flat histogram and swapping values to optimize a loss function. The loss function controls the spectral properties of the mask, allowing it to make blue noise or noise patterns meant to be filtered by specific filters. The algorithm can also be extended over time for animated dither masks with chosen temporal properties.

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  • VoxForge

    VoxForge

    VoxForge is a free speech corpus and acoustic model repository for open source speech recognition engines. VoxForge was set up to collect transcribed speech to create a free GPL speech corpus in order to be uses with open source speech recognition engines. The speech audio files will be 'compiled' into acoustic models for use with open source speech recognition engines such as Julius, ISIP, and Sphinx and HTK (note: HTK has distribution restrictions). VoxForge has used LibriVox as a source of audio data since 2007.

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  • Automated negotiation

    Automated negotiation

    Automated negotiation is a form of interaction in systems that are composed of multiple autonomous agents, in which the aim is to reach agreements through an iterative process of making offers. Automated negotiation can be employed for many tasks human negotiators regularly engage in, such as bargaining and joint decision making. The main topics in automated negotiation revolve around the design of protocols and negotiating strategies. == History == Through digitization, the beginning of the 21st century has seen a growing interest in the automation of negotiation and e-negotiation systems, for example in the setting of e-commerce. This interest is fueled by the promise of automated agents being able to negotiate on behalf of human negotiators, and to find better outcomes than human negotiators. == Examples == Examples of automated negotiation include: Online dispute resolution, in which disagreements between parties are settled. Sponsored search auction, where bids are placed on advertisement keywords. Content negotiation, in which user agents negotiate over HTTP about how to best represent a web resource. Negotiation support systems, in which negotiation decision-making activities are supported by an information system.

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  • Iterative reconstruction

    Iterative reconstruction

    Iterative reconstruction refers to iterative algorithms used to reconstruct 2D and 3D images in certain imaging techniques. For example, in computed tomography an image must be reconstructed from projections of an object. Here, iterative reconstruction techniques are usually a better, but computationally more expensive alternative to the common filtered back projection (FBP) method, which directly calculates the image in a single reconstruction step. In recent research works, scientists have shown that extremely fast computations and massive parallelism is possible for iterative reconstruction, which makes iterative reconstruction practical for commercialization. == Basic concepts == The reconstruction of an image from the acquired data is an inverse problem. Often, it is not possible to exactly solve the inverse problem directly. In this case, a direct algorithm has to approximate the solution, which might cause visible reconstruction artifacts in the image. Iterative algorithms approach the correct solution using multiple iteration steps, which allows to obtain a better reconstruction at the cost of a higher computation time. There are a large variety of algorithms, but each starts with an assumed image, computes projections from the image, compares the original projection data and updates the image based upon the difference between the calculated and the actual projections. === Algebraic reconstruction === The Algebraic Reconstruction Technique (ART) was the first iterative reconstruction technique used for computed tomography by Hounsfield. === Iterative Sparse Asymptotic Minimum Variance === The iterative sparse asymptotic minimum variance algorithm is an iterative, parameter-free superresolution tomographic reconstruction method inspired by compressed sensing, with applications in synthetic-aperture radar, computed tomography scan, and magnetic resonance imaging (MRI). === Statistical reconstruction === There are typically five components to statistical iterative image reconstruction algorithms, e.g. An object model that expresses the unknown continuous-space function f ( r ) {\displaystyle f(r)} that is to be reconstructed in terms of a finite series with unknown coefficients that must be estimated from the data. A system model that relates the unknown object to the "ideal" measurements that would be recorded in the absence of measurement noise. Often this is a linear model of the form A x + ϵ {\displaystyle \mathbf {A} x+\epsilon } , where ϵ {\displaystyle \epsilon } represents the noise. A statistical model that describes how the noisy measurements vary around their ideal values. Often Gaussian noise or Poisson statistics are assumed. Because Poisson statistics are closer to reality, it is more widely used. A cost function that is to be minimized to estimate the image coefficient vector. Often this cost function includes some form of regularization. Sometimes the regularization is based on Markov random fields. An algorithm, usually iterative, for minimizing the cost function, including some initial estimate of the image and some stopping criterion for terminating the iterations. === Learned Iterative Reconstruction === In learned iterative reconstruction, the updating algorithm is learned from training data using techniques from machine learning such as convolutional neural networks, while still incorporating the image formation model. This typically gives faster and higher quality reconstructions and has been applied to CT and MRI reconstruction. == Advantages == The advantages of the iterative approach include improved insensitivity to noise and capability of reconstructing an optimal image in the case of incomplete data. The method has been applied in emission tomography modalities like SPECT and PET, where there is significant attenuation along ray paths and noise statistics are relatively poor. Statistical, likelihood-based approaches: Statistical, likelihood-based iterative expectation-maximization algorithms are now the preferred method of reconstruction. Such algorithms compute estimates of the likely distribution of annihilation events that led to the measured data, based on statistical principle, often providing better noise profiles and resistance to the streak artifacts common with FBP. Since the density of radioactive tracer is a function in a function space, therefore of extremely high-dimensions, methods which regularize the maximum-likelihood solution turning it towards penalized or maximum a-posteriori methods can have significant advantages for low counts. Examples such as Ulf Grenander's Sieve estimator or Bayes penalty methods, or via I.J. Good's roughness method may yield superior performance to expectation-maximization-based methods which involve a Poisson likelihood function only. As another example, it is considered superior when one does not have a large set of projections available, when the projections are not distributed uniformly in angle, or when the projections are sparse or missing at certain orientations. These scenarios may occur in intraoperative CT, in cardiac CT, or when metal artifacts require the exclusion of some portions of the projection data. In Magnetic Resonance Imaging it can be used to reconstruct images from data acquired with multiple receive coils and with sampling patterns different from the conventional Cartesian grid and allows the use of improved regularization techniques (e.g. total variation) or an extended modeling of physical processes to improve the reconstruction. For example, with iterative algorithms it is possible to reconstruct images from data acquired in a very short time as required for real-time MRI (rt-MRI). In Cryo Electron Tomography, where the limited number of projections are acquired due to the hardware limitations and to avoid the biological specimen damage, it can be used along with compressive sensing techniques or regularization functions (e.g. Huber function) to improve the reconstruction for better interpretation. Here is an example that illustrates the benefits of iterative image reconstruction for cardiac MRI.

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  • Inpainting

    Inpainting

    Inpainting is a conservation process where damaged, deteriorated, or missing parts of an artwork are filled in to present a complete image. This process is commonly used in image restoration. It can be applied to both physical and digital art mediums such as oil or acrylic paintings, chemical photographic prints, sculptures, or digital images and video. With its roots in physical artwork, such as painting and sculpture, traditional inpainting is performed by a trained art conservator who has carefully studied the artwork to determine the mediums and techniques used in the piece, potential risks of treatments, and ethical appropriateness of treatment. == History == The modern use of inpainting can be traced back to Pietro Edwards (1744–1821), Director of the Restoration of the Public Pictures in Venice, Italy. Using a scientific approach, Edwards focused his restoration efforts on the intentions of the artist. It was during the 1930 International Conference for the Study of Scientific Methods for the Examination and Preservation of Works of Art, that the modern approach to inpainting was established. Helmut Ruhemann (1891–1973), a German restorer and conservator, led the discussions on the use of inpainting in conservation. Helmut Ruhemann was a leading figure in modernizing restoration and conservation. His greatest contribution to the field of conservation "was his insistence on following the methods of the original painter exactly, and on understanding the painter's artistic intention". After his career of over 40 years as a conservator, Ruhemann published his treatise The Cleaning of Paintings: Problems & Potentialities in 1968. In describing his method, Ruhemann states that "The surface [of the fill] should be slightly lower than that of the surrounding paint to allow for the thickness of the inpainting...Inpainting medium should look and behave like the original medium, but must not darken with age." Cesare Brandi (1906–1988) developed the teoria del restauro, the inpainting approach combining aesthetics and psychology. However, this approach was used primarily by Italian restorers and conservators, with the terminology becoming widespread in the 1990s. Technological advancements led to new applications of inpainting. Widespread use of digital techniques range from entirely automatic computerized inpainting to tools used to simulate the process manually. Since the mid-1990s, the process of inpainting has evolved to include digital media. More commonly known as image or video interpolation, a form of estimation, digital inpainting includes the use of computer software that relies on sophisticated algorithms to replace lost or corrupted parts of the image data. == Ethics == In order to preserve the integrity of an original artwork, any inpainting technique or treatment applied to physical or digital work should be reversible or distinguishable from the original content of the artwork. Prior to any treatments, conservators proceed according to the American Institute of Conservation of Historical and Artistic Works. There are several ethic considerations before Inpainting can be justified. Various deliberation decisions over the ethical appropriateness of the amount and type of inpainting done, resides on many factors. As most conservation treatments, inpainting's ethical questions rest mainly with authenticity, reversibility and documentation.Any intervention to compensate for loss should be documented in treatment records and reports and should be detectable by common examination methods. Such compensation should be reversible and should not falsely modify the known aesthetic, conceptual, and physical characteristics of the cultural property, especially by removing or obscuring original material.New technologies and the aesthetic demand for perfect images without imperfections challenge conservators' ethical practices to protect the integrity of originals. == Methods == Inpainting methods and techniques depend on the desired goal and type of image being treated. Treatments to fill in the gaps are different between physical and digital art. In inpainting, detailed records of the initial state of the images can help with the treatment and replicate the original closer. === Physical inpainting === Inpainting is rooted in the conservation and restoration of paintings. Inpainting can aim to make a visual improvement to the artwork as a whole by repairing missing or damaged parts using methods and materials equivalent to the original artist's work. ==== Application techniques ==== By studying the painting methods of various artists and the composition of paints used historically, conservators are able to restore works very closely to their original visual appearance. The picture as a whole determines how to fill in the gap. Helmut Ruhemann's inpainting techniques by Jessell have procedures to "preserve" the quality of oil and tempera paintings. === Digital inpainting === Many programs are able to reconstruct missing or damaged areas of digital photographs and videos. Most widely known for use with digital images is Adobe Photoshop. Given the various abilities of the digital camera and the digitization of old photos, inpainting has become an automatic process that can be performed on digital images. The inpainting techniques can be applied to object removal, text removal, and other automatic modifications of images and videos. In video special effects, inpainting is usually performed after video matting. They can also be observed in applications like image compression and super-resolution. In photography and cinema, it is used for film restoration to reverse, repair, or mitigate deterioration (e.g., physical damage such as cracks in photographs, scratches and dust spots in film, or chemical damage resulting in image loss; performed infrared cleaning). It can also be used for removing red-eye, the stamped date from photographs, and objects for creative effect. This technique can be used to replace any lost blocks in the coding and transmission of images, for example, in a streaming video. It can also be used to remove logos or watermarks in videos. Deep learning neural network-based inpainting can be used for decensoring images. Deep image prior-based techniques can be used for digital image inpainting, where a trained deep learning model is either unavailable or infeasible. Deep models for visual content generation, like text-to-image or text-to-video, learn complex priors over the distribution of visual content, and can be used to inpaint missing parts. For example, videos can be separated into layers, using a technique called omnimatte, which either pretrain an omnimatte model or without any training using an omnimatte-zero model. Three main groups of 2D image-inpainting algorithms can be found in the literature. The first one to be noted is structural (or geometric) inpainting, the second one is texture inpainting, the last one is a combination of these two techniques. They use the information of the known or non-destroyed image areas in order to fill the gap, similar to how physical images are restored. ==== Structural ==== Structural or geometric inpainting is used for smooth images that have strong, defined borders. There are many different approaches to geometric inpainting, but they all come from the idea that geometry can be recovered from similar areas or domains. Bertalmio proposed a method of structural inpainting that mimics how conservators address painting restoration. Bertalmio proposed that by progressively transferring similar information from the borders of an inpainting domain inwards, the gap can be filled. ==== Textural ==== While structural/geometric inpainting works to repair smooth images, textural inpainting works best with images that are heavily textured. Texture has a repetitive pattern which means that a missing portion cannot be restored by continuing the level lines into the gap; level lines provide a complete, stable representation of an image. To repair texture in an image, one can combine frequency and spatial domain information to fill in a selected area with a desired texture. This method, while the most simple and very effective, works well when selecting a texture to be in-painted. For a texture that covers a wider area or a larger frame one would have to go through the image segmenting the areas to be in-painted and selecting the corresponding textures from throughout the image; there are programs that can help find the corresponding areas that work in a similar way as 'find and replace' works in a word processor. ==== Combined structural and textural ==== Combined structural and textural inpainting approaches simultaneously try to perform texture- and structure-filling in regions of missing image information. Most parts of an image consist of texture and structure and the boundaries between image regions contain a large amount of structural information. This is the result when blending differ

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  • Perceptual robotics

    Perceptual robotics

    Perceptual robotics is an interdisciplinary science linking Robotics and Neuroscience. It investigates biologically motivated robot control strategies, concentrating on perceptual rather than cognitive processes and thereby sides with J. J. Gibson's view against the Poverty of the stimulus theory. As a working definition, the following quote from Chapter 64 by H. Bülthoff, C. Wallraven and M. Giese from The Springer Handbook of Robotics, edited by Bruno Siciliano and Oussama Khatib, published by Springer in 2007, could be used: In the following we will apply the term Perceptual Robotics to signify the design of robots based on principles that are derived from human perception on all three levels in the sense of Marr. This includes a realization in terms of specific neural circuits as well as the transfer of more abstract biologically-inspired strategies for the solution of relevant computational problems.

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  • Logical Machine Corporation

    Logical Machine Corporation

    Logical Machine Corporation (LOMAC) was an American computer company active from the mid-1970s to the 1980s and based in the San Francisco Bay Area. It was founded as John Peers and Company by the British entrepreneur John Peers in 1974. LOMAC developed the ADAM, a minicomputer which ran a specialized compiler for the company's natural English programming language. Throughout the late 1970s, the company acquired several technology firms, including Byte, Inc., the owner of the Byte Shop retail chain. Despite its unique approach to computing and earning $5 million in revenue in 1977, LOMAC struggled as the industry began to standardize around the IBM Personal Computer (IBM PC). Following Peers's departure in 1980, the company rebranded as Logical Business Machines, Inc. (LBM, or simply Logical), and attempted to pivot toward IBM PC–compatible hardware. However, financial difficulties led to the company filing for Chapter 11 bankruptcy in 1984. After emerging from bankruptcy in 1985 with new investment, Logical ceased hardware manufacturing to focus exclusively on software development and value-added reselling. == History == John Peers (born 1942) founded Logical Machine Corporation as John Peers and Company in September 1974. The company originally occupied a 4,500-square-foot office in Burlingame, California. The company was Peers' fourth; he had recently sold off Allied Business Systems of London to Trafalgar House in 1974. Peers sought to set up manufacturing in an agricultural zone in Ukiah, California. Following a delay, caused in part by concerned residents, a 30,000-square-foot plant was raised in Burke Hill, three miles south of Ukiah. The Ukiah plant was built to mass manufacture the company's ADAM minicomputer. The ADAM computer ran a specialized compiler for the company's natural English programming language; that is to say, the programming language attempted to closely emulate English syntax. Prototypes of the ADAM were built in May 1974, based on specifications devised in October 1973. Peers had yet to patent the technology as of June 1975. The ADAM's central processing unit was bolted onto an 7-by-6-foot L-shaped desk, on which rested its terminal. Twenty units of the ADAM were installed between April 1975 and February 1976, out of a backlog of orders for 3,500 from 500 clients, manufactured out of the company's Burlingame headquarters. It cost US$40,000. A controversial print advertisement featuring a naked woman seated at an ADAM terminal—as a pastiche of Adam and Eve—was recalled in early 1976 as a result of outcry from the National Organization for Women. The company changed its name to Logical Machine Corporation (LOMAC) in October 1976 and moved its headquarters to a 26,000-square-foot building in Sunnyvale, California, in anticipation of a ramping up of orders for the ADAM. The company originally occupied half of the building; they later purchased the other half from the tenant in July 1977 to double its manufacturing output. For fiscal year 1977, the company earned $5 million in revenue. In December 1977, LOMAC acquired Byte, Inc.—the proprietor of The Byte Shop, the first computer retail chain—from Paul Terrell and Boyd Wilson for an unspecified amount. The Byte Shop had 65 locations in the San Francisco Bay Area in 1978; it catered mainly to hobbyists with low cost microcomputer kits, in contrast to the high cost of LOMAC's ADAM. By July 1978, however, LOMAC were able to reduce the price of the ADAM down to $15,000. The company by that point had shipped their 50th ADAM and expanded to 14 countries. Also in 1978, LOMAC acquired Mass Memory—a high-tech optical storage company based in Phoenix, Arizona, whose products had storage capacities on the order gigabytes and terabytes—and Centigram, makers of the Mike—a computer with speech recognition. Later that year, the company introduced Tina, a low-cost version of the ADAM. LOMAC suffered losses that year and appointed Jerry Brandt to the board of directions, naming him chief operating officer, in August 1978. Brandt had Logical absorb Mass Memory and Centigram into the parent operations, shutting down their respective plants in the process, converted 10 Byte Shops to franchises and opened 25 more franchised Byte locations, and stopped direct sales of LOMAC's business computer products. By the beginning of 1979, LOMAC was profitable once more, and Brandt was let go from LOMAC. Peers left LOMAC in 1980, following a slump in the company's sales. He became an executive director of the United States Robotics Society, a consortium for industrial automation companies, that year. Following Peers' departure, LOMAC changed its name to Logical Business Machines, adopting the name of its European subsidiary. In 1983, the company announced a 16-bit clone of the IBM PC, called the Logical L-XT, which featured a 10-MB hard drive, 320-KB floppy drive and 192 KB of RAM, and a real-time clock, and came shipped with various software (including MS-DOS, a word processor, and a spreadsheet application) and an amber CRT monitor. The following year, the company introduced L-NET, a local area network system based on the L-XT that could link up to 64 computers. L-NET came shipped with a natural programming language, Diplomat—a descendant of the programming language used on the ADAM. In June 1983, Logical sued Coleco Industries over trademark infringement with the latter's to-be-released Adam microcomputer. Logical cited confusion from their existing ADAM customer base caused by the announcement of the Coleco Adam as the basis for the suit. Coleco challenged Logical in the press, writing that Logical's rights to the Adam trademark for use in computers had lapsed earlier in the year. The two settled out of court, with Coleco agreeing to license the Adam name from Logical in exchange for unlimited rights to the Adam trademark. Logical halted development of the L-XT when they filed for Chapter 11 bankruptcy in July 1984. The company had been $4 million in debt. They emerged from bankruptcy in September 1985, after being infused with $2 million from Carat Ltd. The latter immediately received a little less than 50 percent ownership in Logical—this stake set to grow to over 50 percent over the next six months. As part of the terms of exiting bankruptcy, Logical stopped manufacturing hardware and strictly became a software development company and value-added reseller of computer systems.

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  • Moving object detection

    Moving object detection

    Moving object detection is a technique used in computer vision and image processing. Multiple consecutive frames from a video are compared by various methods to determine if any moving object is detected. Moving objects detection has been used for wide range of applications like video surveillance, activity recognition, road condition monitoring, airport safety, monitoring of protection along marine border, etc. == Definition == Moving object detection is to recognize the physical movement of an object in a given place or region. By acting segmentation among moving objects and stationary area or region, the moving objects' motion can be tracked and thus analyzed later. To achieve this, consider a video is a structure built upon single frames, moving object detection is to find the foreground moving target(s), either in each video frame or only when the moving target shows the first appearance in the video. == Traditional methods == Among all the traditional moving object detection methods, we could categorize them into four major approaches: Background subtraction, Frame differencing, Temporal Differencing, and Optical Flow. === Frame differencing === Instead of using traditional approach, to use image subtraction operator by subtracting second and images afterwards, the frame differencing method makes comparisons between two successive frames to detect moving targets. === Temporal differencing === The temporal differencing method identifies the moving object by applying pixel-wise difference method with two or three consecutive frames.

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  • Catie Cuan

    Catie Cuan

    Catie Cuan is an artist, entrepeuneur, and innovator in the field of robotic art and human-robot interaction, where she specializes in choreorobotics, an emerging field at the intersection of choreographic dance and robotics. Catie Cuan is currently one of the academic researchers pioneering the field of choreorobotics and currently holds a post-doctoral fellowship at Stanford University. == Career == Catie Cuan earned a bachelor's degree from the University of California, Berkeley. She graduated with a Ph.D. from the Department of Mechanical Engineering at Stanford University, focusing in robotics. Her most cited publication is about how to improve robotic expressive systems using tools from dance theory, such as the Laban/Bartenieff Movement Analysis. In her most recent research projects, she explores a predictive model of imitation learning for robots moving around humans, a project that advances the field of social robotics. Cuan credits her work in robotics to the experience with her father when he had a stroke and was surrounded by many medical machines, which made her think about how people might feel empowered and hopeful rather than afraid. As a ballet dancer and choreographer, she has performed with the Metropolitan Opera Ballet and the Lyric Opera of Chicago. In 2020, she was the dancer and choreographer of the show Output, which was part of a collaboration with ThoughtWorks Arts and the Pratt Institute. In the production, she danced with an ABB IRB 6700 industrial robot. In 2022, she was named as an IF/THEN ambassador for the American Association for the Advancement of Science. The same year, she was appointed Futurist-in-Residence at the Smithsonian Arts and Industries Building, where she performed at the closing ceremonies of the FUTURES exhibit on July 6, 2022. Cuan has also contributed to product designs, working with IDEO and Dutch interior design firm moooi on their Piro project, which launched a dancing scent diffuser robot during Milan Design Week in June 2022. She is a TED speaker with talks about how to teach robots to dance, and what is coming up for dancing robots in the AI era.

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